* Format: check pattern sizes on load (#3478)
A .pcraft pattern's width/height came straight from the manifest, so a
1 KB file could declare a 65535x65535 pattern without tiles; painting it
allocated width*height*16 bytes (abort) and the engine's u32 size math
overflowed.
- format: reject patterns 0 px on a side (Corrupt) or above the PSD
reader's 30 000 px edge (LimitExceeded).
- doc: Pattern::pixel_count / is_paintable with MAX_PAINT_PIXELS (2^26,
a 1 GiB f32 RGBA working copy).
- compose/gpu: patterns too large to paint paint nothing instead of
allocating (Tile::new_in, pattern_rgba, PreparedPatterns, GPU plan).
- engine: brush.texturePattern refuses them; average_color uses u64 math
and a bounded corner.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* gpu: skip unpaintable patterns in the Bevel texture too
The Bevel & Emboss texture element uploaded the pattern through
pattern_rgba, which now returns no pixels for a pattern too large to
paint; filter it like the other GPU pattern lookups.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
An iPhone photo embeds Apple's Wide Color Sharing Profile, an input-class
profile with only AToB tables. Preserve kept it as the document's space, so
every composite into the document failed with "RGB profile without
matrix/TRC or BToA tags". Such a profile can't be a destination, so open
converts from it to the working space whatever the policy (Off still
discards it) and the report says inputOnly.
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Layers: Merge Group for a selected group (#3832)
With a lone group selected, Layer > Merge Layers (Cmd+E) reads Merge Group and the
Layers panel's right-click menu offers Merge Group instead of Merge Down, as in
Photoshop. The new layer.mergeGroup command flattens the group's visible contents
into one pixel layer in its place, named after the group, keeping its opacity, blend
mode (Pass Through becomes Normal), clipping and locks. Before, Cmd+E on a group ran
Merge Down and merged the whole group into the layer below it.
* i18n: Vietnamese row for Merge Group
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Merging or stamping converts the straight-RGBA composite into the
document's colour model. Transparent black converts to K = 100% in CMYK
and neutral a/b in Lab, so those pixels no longer equal the surface's
default pixel, prune() keeps them, and the layer's content bounds span
everything that was rendered: the whole canvas for Stamp Visible, Stamp
Down and Copy Merged, and for Merge Layers, Merge Visible and Merge Down
whenever an input may draw anywhere (a fill layer, even a masked one).
Fully transparent pixels are now written as the default pixel in both
conversion paths: photocraft_compose::flatten_to_surface (stamps, Copy
Merged) and engine pixels::composite_layers (merges). Only formats with
alpha are affected; over a Background everything stays opaque.
Tests: engine merge_transparent_bounds (Merge Layers, Merge Visible over
a transparent document, with a masked fill layer and onto a Background,
Stamp Visible, Stamp Down, undo) in RGB/Gray at 8/16/32 bit and CMYK/Lab
at 8/16 bit, and a compose unit test for flatten_to_surface. The masked
fill layer test fails on main (merged layer = full canvas in CMYK).
Co-authored-by: dgliwa <2328690+dgliwa@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* feat: Left and Right arrows turn the brush tip
With a painting tool, Photoshop's Left and Right arrow keys turn the brush
tip 1 degree (15 with Shift); Right turns it clockwise. tools.rotateBrush
turns the session brush's angle by "degrees", wrapped into -180..180, and
move_mods::arrow_keys gives it the plain and Shift arrows only for the
painting tools, when no Move-tool, transform or selection nudge applies
and no type is being edited. Alt-arrows still kern type; Ctrl-arrows still
nudge the layer.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Shift-click with the Type tool starts new text over existing type
In Photoshop a click on existing type with the Type tool edits it, and a
Shift-click there starts a new type layer instead, so text can be placed
over other text. pointer_down now leaves a Shift-click unconsumed when no
type is being edited, so it starts new text; inside the text being edited,
Shift-click still extends the selection.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Space+F cycles the canvas colour
Photoshop's Space+F steps the pasteboard (canvas) colour through Default,
Black, Dark Gray, Medium Gray, Light Gray and Custom, and Shift+Space+F
steps back, round and round. While the Hand key is held, F does this
instead of Cycle Screen Mode; the choice is saved like picking it in the
pasteboard menu (interface.canvasColor). docs/ui-parity.md lists the new
tool keys.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Resolve an issue where rasterizing a smart object layer resulted in an empty raster surface if the cache was not yet populated. Now refreshes the smart layer snapshot if needed, extracts the rendered surface, converts to the document pixel format, and cleans up PSD placed-layer blocks (SoLd, SoLE, PlLd). Includes a regression test suite covering solid fills, new layers, shape layers, and transformed smart objects.
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(effects): Photoshop's measured contour presets; Satin reads contours from the far end
The built-in contour presets were hand-drawn guesses and none matched
Photoshop. They are now Photoshop 27.11's own curves, measured by running
a Satin with each preset against a Linear one (38 levels per curve,
thinned to within 1 %, straight segments).
The measurement also showed how Satin applies a contour: |c(1 - v) - c(1)|
(Cone and Cone - Inverted Satins are identical; a Gaussian Satin is 0.36
at 0.5 while the Gaussian on a glow is 0.64). New effects::satin_lut, used
by the CPU and GPU satin paths.
Probe results vs Photoshop (max level error): Satin with every preset
<= 3 (Cove - Shallow 9), was up to 128; Outer Glow Gaussian 38 -> 2,
Ring - Double 121 -> 15, Cone 48-52 -> 4-7; bevel Contour Cone at 100 %
range 27 -> 12. Corpus oracles unchanged (their stored curves are
symmetric). Gloss Contour is still off: that is the bevel's gloss model,
not the presets.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Layer style UI test: the Contour Editor on the measured Cone
The measured Cone preset has 18 points, all inner ones corners, so the
editor test moves point 1 between its neighbours and checks the corner
flags by position instead of the old three-point shape.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* Camera Raw: Whites, Blacks, Shadows and Highlights closer to Photoshop's
Measured as a black box on Photoshop 25.4's Camera Raw Filter.
Whites and Blacks are global curves of the grey level: the measured rows
per slider value, Whites first, after Shadows and Highlights. The
clipping directions adapt to the image's black and white points
(Whites up to 2.7 times stronger on a dark image, Blacks at least 1.2).
On ten public-domain photos the mean error against Photoshop drops from
4.2-36.8 to 0.9-8.9 levels of 255.
Shadows and Highlights are a local Laplacian filter (Paris et al. 2011,
fast form of Aubry et al. 2014) on the log luminance, the method Adobe
credits for process version 2012. Shadows raises pixels darker than
their surroundings by an amount set by their own and their
surroundings' tone, so big edges keep no halo, and keeps the 99th
percentile; Highlights pulls pixels brighter than their surroundings
toward them and keeps the 1st. The strengths are fitted to the photos
(mean error 2.8-9.4 levels, was 3.7-14.3); Photoshop's exact operator
was not recovered.
The tone stages decode light with the document's curve: filter.cameraRaw
stores encodingGamma (1.8 for ProPhoto, where raws open).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw Shadows/Highlights: no contour lines on smooth gradients
Twelve reference values over a raw's whole range left more than a stop
between them, and the remapping changes within half a stop: coefficients
interpolated across that gap drew contour lines in out-of-focus areas
(Shadows +100 on a Nikon D4 raw). References are now an eighth of a stop
apart over the image's tones (the deepest 0.1 % share the lowest), on a
copy at most 1600 px across whose change comes back to full size by a
guided upsampling, so a 16-megapixel image takes about 2 s per slider and
the preview matches the result.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw on raw opens: Shadows/Highlights in linear light, D4 look and black point as Photoshop
Measured black-box on 29 Nikon D4 NEFs opened through Camera Raw in Photoshop 25.4 (sliders at
+-100 and +50, exposure +-1) against our own linear development of the same files.
- Shadows and Highlights of the open-time dialog now act while developing, in linear light before
the tone curve, as Camera Raw does for raw files (exposure -1 gives the same gains). The log2
gain is slider/100 * C(B - anchor): B is a guided-filter base of the log2 luminance on a copy
1232 px on its long side, the anchor is image-adaptive (Shadows: log2 power mean p=1.5 of the
linear luminance; Highlights: mean log2 luminance). New module photocraft_raw::tone; the
preview undoes the camera curve to show the same (photocraft_raw::retone).
- The D4 profile copies Camera Raw's default rendering: look matrix folded into the
ForwardMatrix, per-channel curve, and an adaptive black point (0.33 x the 0.1th percentile of
the luminance, Sensor::black_point).
Against Photoshop on the 29 frames (1/4 size, log2 Y): default rendering median difference
0.29 -> 0.04 stop; correlation of the slider's effect Shadows +100 0.96, -100 0.91, Highlights
-100 0.87, +100 0.85 (the previous filter model: 0.68 and 0.55 on DSG_3464).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* docs: the open-time Camera Raw re-develop covers Shadows and Highlights
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw raw-stage Shadows: keep shadow contrast as Photoshop does
The user saw Photoshop's shadows sink deeper with more contrast. Measured on the 29 D4 NEFs:
with Shadows +100 our shadow detail had 0.79 of Photoshop's local contrast and shadows sat 0.38
stop lighter. Two causes:
- The black point now comes before the Shadows / Highlights gain, as in Camera Raw (lifting
first let the lift wash out the black point's deep-shadow contrast).
- The guided upsampling's epsilon goes from 0.01 to 1 stop^2: the change follows strong edges
but stays smooth inside texture (with 0.01 it followed every detail and flattened it). Near
strong edges the effect still matches Photoshop as well as elsewhere.
Shadows +100: shadow detail 0.79 -> 0.91, shadow bias +0.38 -> +0.16 stop; effect correlation
Shadows -100 0.906 -> 0.946, Highlights -100 0.870 -> 0.886, others unchanged.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Camera Raw on raw opens: Clarity, Texture and Dehaze in linear light, as Photoshop
Measured black-box from Photoshop 25.4 opening 29 Nikon D4 NEFs through Camera Raw (descriptor
keys Cl12, CrTx, Dhze; each at ±100 and +50, and +100 at exposure −1, 348 opens). All three act
before the tone curve: the change at exposure −1 equals the one at 0 (correlation 0.98–0.99).
- Clarity: log2 luminance split into bands between guided-filter bases (radii 2, 8, 32, 128 on
the 1232 px work copy), each band scaled by a measured gain that follows its base's tone, plus
a tone term; carried to full size with the Shadows / Highlights change.
- Texture: Gaussian bands σ 0.5…16 on a half-size copy, each through its measured response
(small detail raised more than strong edges, flat areas unchanged), guided-upsampled.
- Dehaze: He, Sun and Tang's dark channel prior on linear ProPhoto (dark channel in Display P3,
airlight from the brightest 0.1 % of it, guided-smoothed transmission), w 0.8 at +100;
−100 a uniform veil. The black point stays the default rendering's.
Against Photoshop, PhotoCraft's develop vs Photoshop's open on all 29 frames (median effect
correlation, log2 luminance at 1/4 size, Texture at 1/2): Clarity +100 0.81, −100 0.85;
Texture +100 0.85, −100 0.88; Dehaze +100 0.61 (0.78 in gamma 2.2: the crushed shadows
differ), −100 0.96. Shadows / Highlights unchanged (0.964 / 0.886).
The open-time Camera Raw dialog re-develops for them and its preview shows them (retone).
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* ui: a panel expanded from its collapsed strip auto-collapses on an outside click
* ui: test the Auto-Collapse Iconic Panels peek open and outside close
* engine: show Auto-Collapse Iconic Panels in Preferences, it is wired
* docs: scorecard, settings that do nothing 30 -> 29 of 154
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
paint.remove takes several strokes at once (`strokes`) and fills them as one job and one undo
step, so the fill sees every hole together; and `newLayer` writes the fill to a new layer above
the target, only where the hole is, leaving the target as it was (with Sample All Layers it
fills from the composite). The options bar shows Photoshop's three options; with Remove after
each stroke off, strokes collect as a tint on the canvas until Enter or the ✓ applies them and
Esc or ⊘ drops them. Strokes are dropped when the tool or document changes under them.
Session::edit reported damage only for edits that changed no pixels (same_pixels) and left
every other edit to recomposite the whole document unless the command reported its own
damage. Duplicate and paste do (#2883, #2901), but Fill, Invert, filters, Delete Layer and
the undo/redo of a duplicate, a paste or a delete all recomposited everything.
- Session::edit now reports step_damage(before, after), the same bound undo and redo use.
- step_damage bounds layers only one side has in both directions, so a removed layer counts
where it drew like an added one; the bounded_additions flag and insert_damage go, and
added_bounds becomes one_sided_bounds. A layer that is (or was) the clipping base of
clipped layers above it, an adjustment, a video layer or one excluding channels still
recomposites everything (#3090).
- The subject-mask cache is dropped only when the step can have changed pixels.
perf_scenarios on the layered 20 MP document, edits on a 1 MP layer (p50, RTX 3090, Vulkan):
delete layer 9.1 -> 1.4 ms, undo a duplicate 9.3 -> 1.6 ms, fill a 500 px square
17.4 -> 5.5 ms, Invert 16.7 -> 9.2 ms. Duplicate and paste are unchanged (already bounded).
Tests: duplicate_paste_and_delete_report_where_the_layer_draws checks that each step, its
undo and its redo report the same bounded damage and that no pixel outside it changes.
new_layers_that_change_clipping_recomposite_everything (renamed) now expects bounded damage
for a painted or empty new layer and None for a new clipping base or an adjustment; deleting
and restoring a layer reports its bounds.
Flatten All Layer Effects baked the layer (including its masks) into the pixels and then cleared mask and vector_mask, destroying unrelated mask pixels and their enabled/disabled state permanently after save. Bake the effect visuals with the masks left off the render and keep the original mask and vector_mask objects, so each mask still applies once to the baked raster and the command stays a visual no-op.
Tests: cargo test -p photocraft-engine --lib file_cmds; cargo test -p photocraft-engine --lib; cargo clippy -p photocraft-engine --all-targets (with the two pre-existing lints allowed); cargo test -p photocraft-engine --test panic_hunt -- --ignored
PhotoCraft treats 32-bit documents as linear light (Transfer::for_document,
Exposure, Photo Filter, PSD import), but Image > Mode > 32 Bits/Channel only
rescaled the samples, so a converted 8-bit grey 128 stayed 0.502. Photoshop
stores 0.2159 (measured in Photoshop 27.11: 32-bit float TIFF of an sRGB
chart, every sample = the sRGB-to-linear value). The conversion now decodes
colour samples through the document's tone curve after widening to 32 bits,
and encodes them before narrowing (so no linear value is quantised to 8 or
16 bits). Alpha, masks and alpha channels keep their values. RGB and
Grayscale only (the 32-bit modes).
With it, Photoshop's 32-bit results match exactly for the conversion itself,
Levels, Black & White (default), Brightness/Contrast and Colorize (were 40-80
levels off in sRGB terms).
Adds Surface::map_color (colour samples only, including the default pixel)
and makes Transfer::decode/encode public.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* engine: expose workspace.enableNarrowOptionsBar through a Workspace helper
* ui: the options bar honors the narrow options bar preference
* docs: scorecard, settings that do nothing 30 -> 29 of 154
* text: missing glyph protection can turn the script fallback stack off (#1909)
* engine: apply type.missingGlyphProtection to the live text engine
* docs: scorecard, settings that do nothing 30 -> 29 of 154
Flatten Image, Merge Visible and Merge Down now composite a CMYK stack of
plain Normal raster layers in its ink values, so a lone Background flattens
bit-exact and 16-bit depth is kept. Stacks that still need the RGB
compositor separate back through the document's own CMYK profile instead of
the built-in one, and Merge Down's scratch document keeps the profile.
Fixes#3778
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Photoshop's Brushes panel nests folders by dragging one onto another; ours
could only reorder a folder among its siblings.
- brush.presets.moveGroup takes `into: {group?, folder?}`: the group or
nested folder (with everything in it, presets in order) moves inside that
folder of that group (`folder` [] = directly in the group), or with no
`group` out to the top level as a group of its own. `before` names a
sibling folder (or top-level group) there to land before. Moving a folder
into itself or one of its own folders, a name clash at the destination,
a result deeper than MAX_FOLDER_DEPTH, the ungrouped presets, `index`
with `into`, and bad shapes are errors that leave the library unchanged.
The preset store follows the move (a group moved into another one loses
its group file; a folder moved out gets one).
- Brushes panel and Brush Preset picker: a group or folder header dropped
on another header goes inside it; on the header's upper third it lands
before that folder, reordering siblings or moving a nested folder next to
it (out to the top level before a group). Every drop is one moveGroup
command (`folder_drop` maps the drop).
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
A `history.*` namespace exists (history.deleteState, history.newDocument) but not history.undo, so a client or agent guessing `history.undo` gets a hard `unknown command`. Register history.undo and history.redo as aliases of edit.undo and edit.redo, with no menu entry and no shortcut; the Edit menu items keep Cmd+Z / Cmd+Shift+Z.
Tests: cargo test -p photocraft-engine --lib history_cmds; cargo test -p photocraft-engine --test panic_hunt -- --ignored; cargo xtask parity.
* fix(automation): warn when text falls back from a missing font (#3391)
* cargo fmt
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* View: remember Extras, Show and Snap To across restarts (#3762)
View › Extras, the View › Show items (Pixel Grid, Grid, Guides, …) and
the View › Snap To targets reset to their defaults on every launch. They
are now saved in Preferences (`viewExtras`) as they change and restored at
startup, as Photoshop keeps them between sessions.
Only items that differ from their defaults are stored, so a default
changed in a later release still reaches users who never touched it. A
hand-edited file can't break them: unknown keys and non-boolean values
keep their defaults.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* View: rustfmt the view-extras restart test (#3762)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* feat(engine): Ctrl+, toggles a layer's visibility and / its transparency lock
Photoshop's Ctrl+, (Cmd+, on macOS) hides the selected layers and, once
they are all hidden, shows them again: its Layer menu item then reads
Show Layers. layer.hideLayers now does the same, so the key toggles: it
shows them only when every targeted layer is hidden.
The / key toggles Lock Transparent Pixels, as the Layers panel's first
lock button does (layer.toggleLockTransparency). With several layers
selected, any unlocked one means lock them all; the Background, which
can't take this lock, is left out. Each press is one undoable step.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(engine): Ctrl+\ targets the layer mask and Ctrl+Alt+2 loads luminosity
Photoshop's Ctrl+\ (Cmd+\) targets the active layer's mask, as clicking
its thumbnail does, beside Ctrl+2 for the composite
(channel.target.layerMask; greyed when the layer has no mask). Its
Ctrl+Alt+2 (Cmd+Option+2) loads the image's luminosity as a selection,
the Ctrl-click on the composite channel (select.loadLuminosity).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(engine): Ctrl+Alt+Backspace fills from history
Photoshop's Ctrl+Alt+Backspace (Cmd+Option+Delete) fills the selection, or
the layer, from the History Brush's source state. edit.fillHistory is
edit.fill with contents "history": the oldest state still held, unless
"state" names another. It joins the other fill keys, so it honours the
Channels panel target and appears with them in Keyboard Shortcuts.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Tab renames the next layer; Alt-click a thumbnail fits the layer
While a layer name is being edited, Tab commits it and starts renaming the
layer below, and Shift+Tab the layer above, as in Photoshop; the
Background, which isn't renamed in place, ends it. Alt-clicking a layer's
thumbnail selects the layer and fits its content on screen (View › Fit
Layer(s) on Screen).
Key tests cover Ctrl+,, /, Ctrl+\, Ctrl+Alt+2 and Ctrl+Alt+Backspace
through the shortcut dispatcher. docs/ui-parity.md lists the new keys.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(ui): an explicit channel target drives the Layers panel's mask target
After Ctrl+\ targeted the layer mask, Ctrl+2 moved the Channels target back
to the composite, but the Layers panel kept the mask targeted (its own
flag, which only ever followed the engine towards the mask), so painting
still went to the mask. The same happened after clicking the mask
thumbnail. Any channel.target command (Ctrl+2, Ctrl+\, Ctrl+3…) now sets
the panel's mask and vector-mask targets from the engine's target.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Use Document::is_background after #4036 removed extra_cmds::is_background
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
engine.commands, command.list and the MCP command_list tool now give each
row a disabledReason (null when enabled, else the failed precondition) and
needsDocument (true when the command is off because no document is open),
so an agent can tell "open a document first" from "not runnable". enabled
keeps its meaning. Both listings share one row builder in the engine.
Fixes#3664
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Photoshop's Background is the bottom layer of a file without transparency: a pixel layer that is
transparency- and position-locked, whatever the file's language calls it ("Hintergrund", "背景",
"Arrière-plan"). We matched the name "Background" in compose (deep / shallow knockout), the
engine (cut/clear, merge visible, transforms, warps, distort, erasers, styles, masks, crops,
straighten, smart-object unpack) and the UI (Properties, layer row, tab title), so a localized
file's deep knockout revealed transparency instead of the Background.
- `Document::background` / `background_mut` / `is_background` and `Layer::has_background_traits`
in the doc model replace every name check; `extra_cmds::background_to_layer` is the one
"Background → Layer 0" conversion.
- PSD import marks the bottom record position-locked when it is transparency-protected and has
no transparency channel, with or without an `lspf` block. Affinity import and HDR Toning now
lock the Background's position like every other place that creates one.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Free Transform: layer styles render with the transformed layer (#3653), work in progress
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Free Transform: a layer's style shows while the box is open, drawn from the transformed layer (#3653)
The live preview drew the moving pixels as a bare texture on a mesh, so Stroke,
Drop Shadow and every other effect vanished while the box was open (and for
type, shapes, groups and smart objects the style was baked into the texture,
cut off at the layer's bounds and stretched with the box).
A styled layer is now composited for the preview: the moving texels are
resampled through the box and the style is laid over them by the CPU
compositor's composite_with_effects, the code that draws the layer once the
transform is applied. A stroke keeps its width when the box is enlarged and a
shadow keeps its direction when it is turned, as after the commit.
The composite is made at screen resolution (never finer than the document),
with the style's sizes scaled to match, within a pixel budget from a measured
cost per effect: about 30 ms per rebuild while dragging and 120 ms at rest.
It is rebuilt only when the box, the zoom or the layer changes.
Still plain: the selected part of a styled layer, and Warp mode.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Merge fix: Warp on type reads the texels as the session did (bare when the box draws the style)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Format the type warp texel read
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Free Transform: Content-Aware Scale's preview has no styled composite
Main added a TransformPreview initializer for Content-Aware Scale (#3103) after this
branch started; give it the new field so the merge builds.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
A Displace smart filter (Fltr class `Dspl`, filterID 1148416108) was not in
the modelled filter list, so it became psd.unsupportedFilter and rendered
as a pass-through. Mockup PSDs that bend a replaceable design over fabric
(a design smart object with Displace then Gaussian Blur) rendered flat.
Photoshop stores the displacement map inside the filter: `DspD` (raw data)
holds u32 LE height, u32 LE width, u16 LE mode 3, then two 8-bit planes
(horizontal, vertical) and padding, next to HrzS/VrtS (scale %), DspM
(StrF stretch / Tile), UndA (RptE repeat / WrpA wrap), EmbF and DspF (an
alias to the author's map file, usually unavailable).
The filter now maps to filter.distort.displace. As for Camera Raw, the
whole item (with the map) is kept as hex in `__displacePsd`, so it
re-renders, survives .pcraft and is written back to PSD with only the
editable settings and blending replaced. params_for resolves the embedded
map, so the smart filter re-render applies it, stretched over the document
canvas (the bounds smart filters already pass). Another mode, a missing
or truncated map, or unknown enum values keep the item opaque as before.
The map parser uses checked sizes and caps maps at 2^26 pixels.
Tests: displace_map unit tests (layout, every truncation, hostile and
corrupted headers, round trip, edited settings, opaque fallbacks, bad
exports) and smart_psd::displace_psd_filter_renders_with_its_embedded_map
(8/16/32-bit: renders displaced, PSD export/import and .pcraft keep it).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A Displace applied to a smart object is recorded as a smart filter and
rendered by apply_smart_filters -> filters::apply_filter_to_surface, both
when it is added and on every later re-render (replace contents, toggling
a filter, transforms). That path built FilterParams with params_for alone,
which leaves Displace's map as None; only run_filter resolved `mapPath`
(through filters_ext::resolve, which needs the session). With no map,
algo's displace returns the source unchanged, so the smart filter was a
silent no-op.
apply_filter_to_surface now resolves `mapPath` through the same file read
and import the direct command uses (filters_ext::map_from_path, shared by
resolve and the new session-free resolve_map_path). A map that can no
longer be read on re-render leaves the pixels alone, as for an unknown
filter; the command still refuses an unreadable map when the filter is
added. `mapDocument` needs the session and stays unresolved on re-render.
Regression test: smart_cmds::tests::
displace_smart_filter_reads_its_map_path_on_re_render (8/16/32-bit).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
In Lab documents Photoshop evaluates these adjustments on the Lab channels,
not on the screen RGB colour:
- Invert and Posterize act on L, a and b alike (normalised L/100,
(a+128)/255, (b+128)/255; Invert is n -> 1 - n).
- Brightness/Contrast (modern and legacy) applies its tone curve to L only;
a and b are unchanged.
- Threshold splits on L alone and outputs neutral black or white.
- Gradient Map is driven by L (Reverse uses 1 - L).
Adjustment layers (CPU compositor) and destructive Image > Adjustments both
go through the new `adjust::apply_in`; the GPU compositor defers these
adjustments to the CPU in Lab documents. Levels and Curves keep their Lab
records; other adjustments stay on the screen colour.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(psd): rasterized fill and smart layers stay rasterized after save and reopen
Layer > Rasterize > Fill Content / Smart Object swapped the layer's content
to pixels but kept the fill (SoCo/GdFl/PtFl) or placed-layer (SoLd/PlLd/SoLE)
blocks read from the PSD. Written back, they made the reopened file a fill
layer or smart object again and discarded the pixels. Photoshop writes none
of them for a pixel layer.
- Rasterize drops those blocks from the layer.
- The PSD exporter never writes fill, placed, type (TySh), shape-content
(vscg/vstk), adjustment or CgEd blocks for a raster layer, whichever
command made it one; a vector mask (vmsk/vsms with its vogk) stays.
Tests: synthetic fill + smart object rasterize/save/reopen, the exporter
backstop with stale blocks, and Photoshop-authored corpus files.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* fix(psd): keep a pixel layer's vstk when it has no vector mask, as Photoshop does
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Opening a JPEG now estimates the quality it was saved at from its quantisation
tables (the Annex K tables of ITU-T T.81 scaled by the IJG quality curve; exact
for such tables, the closest fit otherwise). Opening a WebP records whether it
is lossless (VP8L) or lossy (VP8), and a lossy one's quality from its base
quantiser index. The settings live on the document (`Document::file_encoding`,
saved in .pcraft) and a save that asks for no quality writes the file back the
same way, as Photoshop's Save does: File › Save, Save As and Save a Copy start
there instead of the fixed codec defaults (quality 90, WebP always lossless).
An explicit quality still wins; new documents and other formats keep the
defaults. Hostile or truncated DQT/VP8 headers give no estimate, never a panic.
Refs #2399
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(engine): a PSD type layer names the installed font, not an invented one (#3556)
A type layer created with a font by family name stored no PostScript name, so PSD export
invented one ("<Family>-Regular", spaces removed). Photoshop looks type up by PostScript name,
so it showed the font as missing and substituted Myriad Pro as soon as the text was edited.
Resolve the family's installed face (matching weight/italic) from the font database when the
family, style, weight or italic is set, and store its real PostScript name; an explicit
postscriptName still wins. A family PhotoCraft does not have keeps no name, so the export falls
back as before.
Test: a_family_font_gets_the_installed_postscript_name; the existing named-face test now expects
the resolved name.
* Type tool test: a family change names the installed face (#3556)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
layer.translate takes target=mask: a layer whose mask is unlinked then shifts that mask only
(the shell adds the target when the Layers panel targets the mask), live preview included.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
With painting symmetry on, every pointer event cloned and finished the stroke and each mirrored
pass, merged them again, composited the whole stroke and restored each pass's full bounds, so an
event cost grew with the area painted so far. StrokeRenderer::composite_union_live merges and
composites only the coverage tiles that changed (new dabs, the smoothing tails now and before),
leaving exactly the pixels the full merge gave; a mirror joining redraws every tile once.
anchor_factors resolved the x and y axes independently and with different matching
rules (x looked for a capitalised "Left"/"Right" or the exact word, y for a lowercase
"top"/"bottom" prefix). A misspelling matched one rule and missed the other, so
"topleft" anchored top-centre and "TopLeft" left-centre -- anchors the command does not
offer -- with no error.
Match the anchor exactly against the nine documented values via one ANCHORS table;
anything else is a BadParams error naming `anchor` and listing them, as #507 settled
for other command params. The nine valid values keep the exact factors they had, and an
omitted anchor still means center.
Test covers the nine offsets, the omitted default, and the misspellings from the issue
("topleft", "TopLeft", "TOPLEFT", "bottomleft", "bottomright", "middle", "", "NOPE").
Fixes#2946.
Co-authored-by: photocraft-agent UNCONFIGURED <unconfigured@invalid.local>
* feat(codecs): decode every frame of an animated GIF (#572)
decode_gif_frames returns each frame composited onto the logical screen
(disposal methods applied) with its delay in milliseconds. decode still
keeps the first frame only. A damaged later frame keeps the frames before
it and marks the first with DecodeWarning::Truncated; dimensions, the
total decoded bytes and a frame cap are checked against the limits.
* feat(io): import_gif_frames hands each GIF frame over as a document (#572)
A frame at a time becomes a single-layer document, so a caller can
flatten and drop it instead of holding every frame twice.
* feat(engine): animated GIFs load every frame into video layers (#572)
New Video Layer from File, Replace Footage, Reload Frame and Video Frames
to Layers take all frames of a GIF instead of the first. The timeline rate
comes from the GIF's delays (the most common one, delays under 20 ms shown
at 100 ms as browsers do); an explicit fps still wins.
* docs: animated GIF frames in video layers (#572)
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* Tools: Shift key switches tools by default, as in Photoshop (#3525)
Use Shift Key for Tool Switch is on by default in Photoshop: T keeps the
current tool, Shift+T cycles. Saved settings keep their stored value.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* Tests: the M-key marquee cycling test sends Shift+M, the new default (#3296)
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Co-authored-by: Brandon Thomas <echelon@gmail.com>
* feat(engine): accept Photoshop units for guide positions
view.newGuide and view.moveGuide take the position as before (a number
of pixels) or as text with a unit, as Photoshop's New Guide dialog does:
"50%", "2.5 cm", "1in", "12pt", "3pc", "100px". Percent is of the
document's width for a vertical guide and its height for a horizontal
one; points and picas follow Units & Rulers › Point Size. Fractional
positions are kept. Text that isn't a length, NaN and positions beyond
1,000,000 px are refused without recording a history step.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(engine): guides can have their own colour
Photoshop's New Guide sets a colour per guide; PhotoCraft guides only had
the Preferences guide colour. Guides now keep optional colours, keyed by
orientation and position so code that drops or reorders guide positions
(crop, artboards, guide layouts) can never move a colour onto another
guide: an unmatched guide just uses the preference colour.
view.newGuide takes an optional "color": a name from New Guide's list
(lightBlue, lightRed, green, mediumBlue, yellow, magenta, cyan, lightGray,
black) or "#rrggbb". Without one the guide uses the preference colour, as
guides dragged from the rulers always have. Moving a guide carries its
colour; deleting and clearing drop it (Clear Guides, Clear Canvas Guides,
Clear Selected Artboard Guides and New Guide Layout's Clear Existing
Guides alike); undo restores it. Guides are drawn in their own colour
(while New Guide Layout previews, the rest show the colour it will set), and .pcraft files keep it (omitted when no guide has
one, so older readers and files are unaffected). PSD export keeps guide
positions only.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): Photoshop's New Guide dialog: units and colour
View › Guides › New Guide… was the generic schema dialog, whose position
field was whole pixels only and had no colour. It now has its own
dialog, as in Photoshop:
- Position opens in the ruler unit ("0 cm") and takes any unit
Photoshop's field takes ("50%", "2.5 cm", "12 pt"); a bare number is
in the ruler unit. The last guide reopens in whatever the ruler unit
is then ("5.08 cm").
- Color lists Custom…, Light Blue, Light Red, Green, Medium Blue,
Yellow, Magenta, Cyan (the default), Light Gray and Black. Custom…
shows a swatch that opens the Color Picker. The guide stores the
chosen colour itself, so a later change of the preference guide
colour leaves it alone.
- A position the engine refuses reopens the dialog with what was typed
and the engine's message, as Photoshop keeps New Guide open.
Light Blue, Light Red, Medium Blue and Light Gray are new to the
catalogues; they were translated for all 16 languages from the existing
colour terms in each and would benefit from native review.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* refactor(engine): one unit-suffix table for typed lengths
New Guide's position field (Unit::parse_length) and the Crop tool's size
fields (crop_size::unit_of) each kept the same table of unit suffixes.
Unit::from_suffix is now the one table: px, in or ", cm, mm, pt, pc or
pica, % and their long forms, in any case. The crop fields keep their own
number parsing (they accept arithmetic) and still refuse percent; they now
also accept "pc" for picas.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
* feat(ui): New Guide and New Guide Layout share one colour list
New Guide Layout (#2930) offered five colours of its own; New Guide offers
Photoshop's nine. Both dialogs now list the same nine (GUIDE_COLORS), in
Photoshop's order and with the same translated names. Cyan (#4affff, the
default guide colour), Magenta (#ff00ff) and Yellow (#ffcc00) take New
Guide Layout's values; Light Blue, Light Red, Green, Medium Blue, Light
Gray and Black keep New Guide's. New Guide Layout's Blue (#378ef0) and
jade Green (#00a86b) give way to Photoshop's Light Blue and Green; a colour
outside the list still shows as Custom.
GUIDE_COLORS drops its unused label column (the dialogs translate the
names), and New Guide Layout reads "#rrggbb" with prefs::parse_hex instead
of its own copy (rulers::parse_guide_color).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
Part of #2966. The History panel's camera button takes a named snapshot
of the document ("Snapshot N", not a history state). Snapshots are
listed under the opening state with a thumbnail and scroll with the
states; clicking one returns the document to it as one new, undoable
state named after it. A double-click or right-click › Rename… renames
it in place, and right-click › Delete removes it. Snapshots live for the
session only, as in Photoshop.
For agents: history.newSnapshot {name?, from?: fullDocument |
mergedLayers | currentLayer}, history.selectSnapshot, renameSnapshot and
deleteSnapshot, addressed by ids that are never reused, and doc.inspect
reports snapshots.
* Content-Aware tools: faster, cancellable at once, same pixels
#2202 matched Photoshop's Content-Aware Fill but made the perf nightly slower (#2575): P21
Content-Aware Fill 10 MP 5x, P22 Spot Healing 2.4x, P49 cancel on 24 MP 4x and over its 200 ms
budget. This keeps every result bit for bit and takes the time back:
- The solver works over the hole's bounds grown by a patch: match field, costs, votes and the
per-target tables are kept there (nothing outside changes or is matched), the vote computes
each target's weight once and writes into a buffer instead of a Vec per pixel.
- Colour adaptation reuses each patch's own moments (target sums kept per EM step, source sums
per level where they pay off), summed in the same order as before.
- Exact early outs: SSD per pixel instead of per row (callers only ask "better?"), and the onion
peel's exhaustive search starts from where the filled neighbours took their sources and stops a
source once it can only lose (first-of-equals kept).
- PatchMatch sweeps a band in wavefronts of blocks when there are fewer bands than threads: each
cell sees the same neighbours and random numbers (SplitMix64 skip) as in raster order.
- Parallel pyramid, valid-source and target setup; no copy of the window when there are no
variants (fill_owned / complete_masked_owned); the job reads the window in parallel bands and
keeps only the selection's bounds for the apply step.
- Cancellation is checked per row everywhere, also in Auto sampling and in its max flow
(maxflow_with / grid_cut_cancellable): a 24 MP job now stops in tens of milliseconds.
- algo::par: rayon on native, sequential on wasm.
Proof: the new `content_aware_bench` example hashes every tool's output (Fill with each sampling
and adaptation option, Edit > Fill, Delete and Fill, Spot Healing x3, Patch, Content-Aware Move,
8/16/32-bit, Gray/CMYK/Lab, and the benchmarks' 10 and 24 MP fills): 117 hashes identical to
main, also with 1, 2 and 4 threads. New tests compare the onion peel with a plain scan, full and
clipped patch distances and moments, the valid-source runs with the summed-area test, thread
counts 1/3/16, in-place and copied fills, and cancellation of Auto sampling and max flow.
perf_scenarios --cpu, Ryzen 7 5800X shared with other work (load 4-7), 3 interleaved rounds:
P21 p50 295-306 -> 167-171 ms (max 342-362 -> 180-184); P22 p50 67-68 -> 38-40 ms (max 69-71 ->
40-41); P49 max 378-389 -> 54-77 ms (p50 94-110 -> 47). retouch_bench: Content-Aware Move
-47..-64 %, Spot Healing Content-Aware -40..-61 %.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Content-Aware: faster Spot Healing dabs than main with #2805, same pixels
Against main with #2805 the branch was slower for small Spot Healing dabs (size 50:
+25-30 %, single-threaded +60 %): its onion peel walked all 49 offsets of every candidate patch,
checking each against the known pixels, and had no bound at the hole's edge.
- Onion peel: the target's known pixels are gathered once (#2805), the search starts from the
filled neighbours' shifted sources or every 16th source at the hole's edge (#2805), the limit
a candidate must stay under is a precomputed sum (no division per pixel), and candidates are
summed four at a time in step: their sums are independent, so the processor overlaps them.
Each is still given up only against the best from before the four, which can only improve.
- Vote: each target's weight and match centre are taken once; a pixel's patches are visited
over the clipped offset range, with the channel count and the colour adaptation fixed at
compile time. Same sums, same order.
- Valid sources: sliding counts per row and stacked runs per column instead of a 7-row check
per pixel; the k-th source is found through per-row and per-64-column counts, so no level
but the coarsest lists them all.
- `integral` stays out of line: inlined into `synthesize` it made Create Texture slower.
Same results: `content_aware_bench -- hash` (112 cases) and `-- hash-big` (the benchmarks' 10 and
24 MP fills) equal main's, also with 1 and 3 threads; the onion peel tests (#2805's and ours)
compare with the plain scan. `content_aware_bench bench spot` runs retouch_bench's Spot Healing
dabs; with `CAF_SPOT_TYPE` (comma-separated) other types, with page faults per dab.
Ryzen 7 5800X, shared (load 5-20), interleaved with main (3af4c46a), min of rounds,
retouch_bench, all threads / one thread:
Spot Healing Content-Aware 50: 49 -> 31 / 204 -> 117 ms; 100: 62 -> 35 / 164 -> 98 ms;
200: 118 -> 67 / 250 -> 158 ms; 300: 212 -> 119 / 411 -> 285 ms. Content-Aware Move -47..-62 %
(one thread -23..-45 %). Rows that don't run this code stay within noise, except Proximity
Match 200 after the Content-Aware dabs in the same process (+8..23 %): it takes ~5800 page
faults there against ~300 on main, because main's heavier dabs left more of the heap faulted
in; alone, or after Content-Aware dabs in `bench spot`, it is equal.
Co-Authored-By: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
---------
Co-authored-by: Claude Opus 5.5 (1M context) <noreply@anthropic.com>
* Brush and Pencil: hold ~ to erase
Fixes#3439. Holding ~ (the backtick key) with the Brush or Pencil makes
the strokes started while it is held erase, with that tool's own brush,
as in Photoshop; releasing it paints again and the tool never changes.
The key is a Tools › Temporary binding (tools.temporary.erase), so it
can be rebound or removed in Keyboard Shortcuts.
* Brush and Pencil: Clear painting mode, used by ~
Photoshop's Clear joins the Brush's and Pencil's Mode menus, after
Dissolve: chosen there, every stroke erases with that tool's brush until
another mode is picked. Holding ~ now puts the stroke in Clear mode too,
and the Mode menu shows Clear while the key is held. History names the
tool rather than the Eraser. Agents get it as "mode": "clear" on
paint.stroke and paint.pencil.
* Keep the Smoothing doc comment on smoothing_field
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
The 15 warp presets (Edit > Transform > Warp, smart object warps, Warp
Text) were our own closed-form approximations, up to 70 px off
Photoshop's: Arc kept its centre fixed and pulled the ends in where
Photoshop keeps the inner edge's corners and raises the middle, Flag
waved the wrong way at a third of the height, Squeeze shrank instead of
pinching.
Measured on Photoshop 27.11 (scripted renders of a grid image whose
colours encode each pixel's position, 102 cases: every preset at bend
±50 and ±100, both distortions, vertical orientation, square, wide and
tall boxes), every preset is a single bicubic Bezier patch (fits within
0.5 px). Its control grid:
- Arc: each row a circular arc of b·π around one centre, the inner edge
keeping its chord; Arch, Bulge, Arc Lower/Upper and Shell built from
the same arcs. Circular in pixels on any box.
- Flag, Wave, Fish, Rise, Fisheye, Inflate, Squeeze, Twist: control
points moved linearly with the bend, in box units.
- Vertical distortion scales the top and bottom rows about their
midpoints and blends the rows between; horizontal distortion scales
each column. Vertical orientation swaps the axes and the two
distortions.
All 102 cases land within 1 px (median) of Photoshop. On the corpus's
Photoshop-made warped text, warp-arc-50 now spans 340x85 at (-3, 3)
against Photoshop's 350x88 at (-7, 3), where it was 278x74 at (28, 62).
Presets also convert to custom meshes exactly now (to_mesh splits the
patch instead of fitting). Tests that pinned the old shapes now assert
Photoshop's; presets_match_photoshop checks measured points.
Still open: Warp Text warps over our line box, while Photoshop uses the
type layer's stored `bounds`; with those the five corpus warp files land
within a few px (arc, flag, bulge with distortion, twist, vertical rise).
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* ci: restore test and Clippy gates
* ci: keep browser wasm below size gate
* CI: restore plural catalog and MCP resource test gates
Adapted the catalog, parser, and shared-cache test fixes from PhotoCraft PR #3821 by @bommerts. The source-key test, bundled-catalog test, and MCP resource test pass locally.
* CI: expect saved native document name in CLI test
The native save path intentionally writes the output filename into the reopened bundle. Keep the pre-save Run assertion and assert r.pcraft after reopening.
* CI: compare orientation round trips without saved filenames
Native saves encode the output filename in document name. Check each expected name, then compare the remaining document fields and pixels.
Clear (and the background-colour fill it does on a Background layer)
read the whole selection bounds into one float buffer, looked the
selection up in its tile map once per pixel and wrote every tile back,
single-threaded. On an 8000x6000 layer that took about 2 s (3 s on the
Background). It now edits the encoded tiles in parallel, drops fully
cleared tiles, shares one solid tile for fully covered opaque fills and
copies a tile only when a pixel in it changes. Results match the old
pass exactly; 20-110 ms on the same documents.
Fixes#3463
Co-authored-by: Fabio Lussi <198260595+itrycodinganditsbad@users.noreply.github.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
A command whose params document "layer":id acts on that layer, but its
availability check looked at the active layer. With another layer selected,
`layer.smartObjects.replaceContents {"layer": N, "path": …}` failed with "the
active layer is a Group layer, not a smart object", although layer N is a
smart object; likewise Rasterize, Export Contents, Merge Down and the rest.
Scripts, recorded actions and MCP agents hit this whenever the selection
differs from the layer they name.
Two allow-lists covered part of it: #466 (smart filters, Edit Contents,
Convert to Layers) and #2457 (hide, show, rename with nothing selected). The
#466 check now applies to every command that documents "layer":id (210
today; the old list is a subset): the precondition runs with the named layer
as the active one, then the active layer is restored. A name that isn't a
layer of the active document falls back to the usual check, so bad ids still
fail as before. It moves from smart_cmds to Session, as it isn't specific to
smart objects any more.
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
* fix(clipboard): Copy takes every selected layer, Paste recreates them (#2478)
With several layers selected and no pixel selection, Edit > Copy only
copied the active layer's pixels, so Paste made one layer. Photoshop
copies all selected layers and pastes them back as layers.
Copy now puts the selected layers (those no selected group already
carries, bottom-to-top) on the session clipboard as whole layers, which
Paste already knew how to recreate (paste_layers). The OS clipboard still
gets the merged pixels. A pixel selection keeps the old behaviour (the
active layer's selected pixels), and the Background in the set pastes as
an ordinary, unlocked layer, as Duplicate Layer makes it.
Tests: several layers round-trip in one undo step, a pixel selection
still copies one layer, and the Background case.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
* test(clipboard): several copied layers paste into another document (#2478)
Copy two layers in one document, paste them into a 16-bit and a 32-bit
document: both arrive in order, converted to the target depth with their
own pixels, as one undo step, and the source document is untouched.
Co-Authored-By: Claude Sonnet 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Claude Sonnet 5.5 <noreply@anthropic.com>
* fix(selection): keep Color Range inside active selection and reject out-of-bounds samples
* fix(ui): scope Color Range dialog and canvas previews to the active selection
* test(selection): cover Color Range scoping, sampling, invert, Add and undo
* test(ui): ensure Color Range preview and pipette honor existing selection
* test(selection): avoid Debug bound when asserting prepared-query error
* test(selection): validate malformed Color Range sample orders without selection interference
* Color Range: format, and scope the OK undo test's prior selection (#3313)
The existing ok_applies_one_undo_step test picked a prior selection that
excluded the red it then expected Color Range to select; with Color Range
scoped to the active selection it now selects the red inside it.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
---------
Co-authored-by: Brandon Thomas <echelon@gmail.com>
Co-authored-by: Claude Opus 5.5 <noreply@anthropic.com>
